Word: vitti
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...men’s heads turn, and at the same time know through her facial expression or a voiceover what’s going through her mind. Films like Yasujirõ Ozu’s Noriko trilogy of the ’40s, New Wave features starring Monica Vitti and Anna Karina, or the defiant ’80s flick “Thelma and Louise” prove that it’s possible to represent the inner life of a woman with complexity and grace. Gazing at her reflection in the window of a Chinese restaurant, the protagonist...
...thank you all for being so smart,” Reiss said. While at Harvard, Reiss was co-president of the Harvard Lampoon—a semi-secret Sorrento Square social organization that occasionally publishes a so-called humor magazine—along with fellow Simpsons writer Jonathan M. Vitti ’81. —Staff Writer Esther I. Yi can be reached at estheryi@fas.harvard.edu...
...director first cast Vitti, a little-known stage ingenue, as a voice double for another actress in the 1957 Il Grido. "We became friends," Antonioni later said. "Then things evolved. A relationship was born and a series of films." With a husky voice, a mop of blond hair and strong features that caught the camera's eye even when she wasn't center-screen, Vitti starred in five Antonioni pictures, instantly becoming their anguished or volatile face, their always human soul. She was so acute a revealer of depression, disappointment, despair, that it was a shock...
...factories there. But is essentially an experiment in color. This time, reality wasn't good enough for the neo-neo-realist. He painted the earth a sludgy gray, and found a sickly yellowish color for the canals, as if they had vomited on themselves. (He also gave Vitti red hair). It was all in aid of showing the already polluted city through the eyes of the schizophrenic wife and mother played by Vitti. "I have to put into the landscape the colors needed," Antonioni said, "to express a certain state of mind...to violate, so to speak, this reality...
...smaller but no less ambitious scale, Antonioni kept experimenting. He reunited with Vitti for The Mystery of Oberwald (1981), which used the new video technology to repaint forests, walls, gowns in an expert riot of surreal colors. He continued even after a 1985 stroke robbed him of speech. His four short segments in Beyond the Clouds had the old camera suavity and started to make explicit the erotic yearnings of his '60s films. He could not have made this film, and his 2003 contribution to the omnibus project Eros, without his wife Enrica, through whom he communicated with his casts...